DOCSLIB.ORG

Mariano Fortuny Between Morocco and Spain

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mariano Fortuny Between Morocco and Spain City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College 2-1-2019 Localizing Orientalism: Mariano Fortuny between Morocco and Spain Susie Sofranko CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/422 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Localizing Orientalism: Mariano Fortuny between Morocco and Spain by Susie Sofranko Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2018 Thesis Sponsor: December 14, 2018 Tara Zanardi Date Signature December 14, 2018 Lynda Klich Date Signature of Second Reader i Table of Contents Dedication ........................................................................................................................... ii Acknowledgments.............................................................................................................. iii List of Illustrations .............................................................................................................. v Introduction: Fortuny in Between ....................................................................................... 1 Chapter 1: Fortuny in Morocco, between Spectacle and Sympathy ................................. 19 Chapter 2: Fortuny in Spain, between Spanish and Oriental Masculinity ........................ 42 Chapter 3: Fortuny in Granada, between Costumbrismo and Orientalismo ..................... 61 Conclusion: Fortuny in Legacy, between Then and Now ................................................. 86 Bibliography ..................................................................................................................... 91 Illustrations ....................................................................................................................... 95 ii Dedication I dedicate this thesis to my grandfather, the late Michael Sofranko, who provided me with a life in which I was able to discover my love for art, history, and, eventually, Fortuny. iii Acknowledgments This thesis would not have been possible without the tremendous support of the Art Department at Hunter College. Throughout my two degrees at Hunter I have benefitted greatly from the resources offered by the Department. I am endlessly grateful to the Kossak family, for the funding that allowed me to first explore Spanish and French Orientalisms in their respective hometowns, as well as to Estrellita Brodsky for sponsoring my final dive into dense collections of Fortuny’s work in Barcelona, Reus, and Madrid—both experiences that molded my perspective and shaped this thesis. To that end, I must thank those that helped me find Fortuny in Spain: Francesc M. Quílez i Corella, for his enthusiasm for my project from my very first inquiry at the Museu Nacional d’Art de Catalunya; Merce Saura for her assistance in the Museu’s drawing’s cabinet; and Raquel Aparicio Mainar for her time showing me the collection of Museu de Reus and answering clarifying questions thereafter. I am in the most fortunate position to have surrounding me some of the greatest mentors in and outside of the field of Art History. From the day I decided I wanted to be an art historian to the completion of this graduate thesis, Dr. Lynda Klich has been my guiding force. She provided me with an introduction to my advisor Dr. Tara Zanardi, whose inspiring lectures, thoughtful advisement, and remarkable goodwill made this project possible. I owe the world to Lynda and Tara for all they have taught me about art historical perspectives, as well as becoming a self-assured scholar amidst the pressures and insecurities that come along with putting original thoughts on paper. Their scholarship in Visual Typologies from the Early Modern to the Contemporary, for which I was an editorial assistant, inspired my thinking about Fortuny on both the global and local level. I must also thank Libby Collinge, my mentor in my dual life as a fundraiser, for pulling me up by my bootstraps time and time again, as I battled finishing my iv degree while progressing in my career. Finally, I must give credit for all of my success to the incomparable Charlotte Glasser, for her years of advice and friendship beyond my graduation from the Macaulay Honors College. This roster of exceptional women—Lynda, Tara, Libby, and Charlotte—have provided me with all the tools necessary to complete this thesis and whatever life beyond holds, all the while reminding me to remain humble and laughing along the way. This thesis is also the product of a major support group of friends and family. My motivating, patient, and inquisitive partner, Joe Motzkin, has been with me in the trenches through every word of this thesis. Hours of conversations about Spain and art with Eliza Edge inspired me throughout my three-year long sojourn. Sneaking away to lunch with Susan Breyer has kept me on track and staying positive even on the darkest days. Last but not least, I thank my incredible family of Sofrankos, Ravenses, Hoyts, Friedmans, and Tammy Moin; but in particular, Sara Sofranko, my sister, for her unconditional love and care; Sharon Sofranko, my mother, for dragging me to museums at a young age; Jim Sofranko, my father, for talking with me about film far before I could comprehend his aesthetic criticisms; and Michael Sofranko, my late grandfather, for providing me with everything I could have ever needed to explore my passions here in New York and around the world. I am indebted to you all. v List of Illustrations Figure 1. Mariano Fortuny, Self-portrait, ca. 1858. oil on canvas; 62.5 x 49.5 cm. Barcelona, Museu Nacional d'Art de Catalunya. Figure 2. Francisco Antonio Contreras Muñoz, “Ventana en la sala de las Dos Hermanas, palacio de la Alhambra,” Monumentos Arquitectonicos de España, 1868, gold pigment and red, blue, brown and black gouache ink on vellum paper, 61.6 x 47.7 cm. Madrid, Museo de la Real Academia de Bellas Artes de San Fernando. Figure 3. Mariano Fortuny, Muslim-style decoration, 1860-1862. Watercolor on paper. 15.5 x 17.5cm. Barcelona, Museu Nacional d’Art de Catalunya. Figure 4. Mariano Fortuny, Battle of Tetuan, 1863-1865, oil on canvas, 300 x 972 cm. Barcelona, Museu Nacional d’Art d’Catalunya. Figure 5. Horace Vernet, Capture of the Smala of Abdelkader, May 16, 1843, 1844, oil, 480 x 2130 cm. Paris, Musée de l’Histoire de France. Figure 6. Mariano Fortuny, An Arabic Man Keeping Watch Over the Dead Body of His Friend, 1866, etching on paper, 44.5 × 61.7 cm. New York, Metropolitan Museum of Art. Figure 7. Mariano Fortuny, Dead Kabyle, ca. 1867 (published 1878), etching on paper, 42.5 × 63 cm. New York, Metropolitan Museum of Art. Figure 8. Mariano Fortuny, A Partly Naked Man on the Ground Right Arm Outstretched, ca. 1860-1870, etching on japan paper, 24.5 × 32.7 cm. New York: Metropolitan Museum of Art. Figure 9. Eugène Delacroix, Death of Sardanapalus Salon, 1827, oil on canvas, 3.92 x 4.96 m. Paris, Musée du Louvre. Figure 10. Francisco José de Goya y Lucientes, If he is Guilty, Let Him Die Quickly, ca. 1815, published ca. 1859, 11.5 x 8.5 cm. London, British Museum. Figure 11. Francisco José de Goya y Lucientes, The Custody is as Barbarous as the Crime, ca. 1815, published ca. 1859, etching on paper, 11 x 8.5 cm. London, British Museum. Figure 12. Francisco José de Goya y Lucientes, The Custody of a Criminal Does Not Call for Torture, ca. 1815; published ca. 1859, etching on paper, 37.78 x 42.33 cm. London, British Museum. Figure 13. Eugene Fromentin, Land of Thirst, 1869, oil on canvas, 103 x 143 cm. Paris, Musée d'Orsay. Figure 14. Moliné y Albereda. Fortuny dressed as an Arab, ca. 1860, photograph. Museu de Reus. vi Figure 15. Mariano Fortuny, African Chief, 1870, oil on canvas, 41 x 32.9 cm. Chicago, Art Institute of Chicago. Figure 16. Mariano Fortuny, The Carpet Seller, 1870, watercolor with touches of tempera on paper, 59 x 85 cm. Barcelona, Montserrat Museum. Figure 17. Mariano Fortuny, Arab Leaning against a Tapestry, 1873, oil on canvas, 49 x 75 cm. Doha, National Collection of Qatar. Figure 18. Ricardo de Madrazo, The Studio of Marià Fortuny in Rome, 1874, oil on canvas, 100 x 75.4 cm. Barcelona, Museu Nacional d’Art de Catalunya. Figure 19. Jean-Léon Gérôme, The Snake Charmer, 1879, oil on canvas, 82.2 x 121 cm. Williamstown, MA, Clark Art Museum. Figure 20. Mariano Fortuny, Hindu Snake Charmers, 1869, oil on canvas, 58.74 x 124.46 cm. Baltimore, Walters Art Museum. Figure 21. Anonymous, Studio of Mariano Fortuny y Marsal, via Flaminia, Rome, 1870, print of albumen paper, 25 x 72 cm. Paris, Bibliothèque nationale de France. Figure 22. Mariano Fortuny, Opium Smoker, 1869, watercolor on paper, 38.4 x 49.8 cm. Saint Petersburg, The State Hermitage Museum. Figure 23. Mariano Fortuny, Saint Andrew (copy after Ribera) ca. 1867, oil on canvas, 80.5 x 65.5 cm. Madrid, Museo del Prado. Figure 24. Mariano Fortuny, Nude Old Man in the Sun, 1871, oil on canvas, 76 x 60cm. Madrid, Museo del Prado. Figure 25. Mariano Fortuny, Faithful Friends, 1869, watercolor on paper, 14 x 19 cm. Baltimore, Baltimore Art Museum. Figure 26. Manuel Wssel de Guimbarda, Costumbrista Scene in the Alcázar of Seville, 1872, oil on canvas, 84 x 63 cm. Madrid, Colección Carmen Thyssen-Bornemisza. Figure 27. Mariano Fortuny, La Tribunal de la Alhambra, 1871, oil on canvas, 75 x 59 cm. Figueres, Dalí Theatre-Museum. Figure 28. Mariano Fortuny, Slaying of the Abencerrajes, c. 1871, oil on canvas, 73 x 83 cm. Barcelona, Museu d’Art Modern de Barcelona. Figure 29. Mariano Fortuny, Arab Musicians, c. 1872, oil on canvas, 61 x 100cm. Venice, Museo Fortuny. Figure 30. John Frederick Lewis, “Distant view of the Sierra Nevada,” 1836, lithograph, 36.2 x 26.1 cm. In John Frederick Lewis, Sketches of Spain and Spanish Character (London: vii F.G. Moon and John F. Lewis, 1836). San Francisco, CA, Fine Arts Museums of San Fransisco, Achenbach Foundation for Graphic Arts.
Load more

Recommended publications
  • Antagonist Images of the Turk in Early Modern European Games
    ANTI/THESIS 87 The earliest representation of the Turk in art appeared in Venetian Quattrocento ANTI-THESIS Antagonist paintings as a result of the increasing com- Images of mercial activities of Venice, which played a role as the main connection between the Turk in Europe and the Levant (Raby 17). The per- ception of the image of the Turk varied Early Modern depending on the conflicts between Venice and the Ottomans, usually pro- European Games voked by religious and political propa- ganda. Gentile Bellini’s circa 1480 portrait of Mehmed the Conqueror, who con- quered Constantinople, is one of such rare early examples that reflected an apprecia- tion of an incognito enemy before the early modern period, which had faded Ömer Fatih Parlak over the course of time as tensions increased. Bellini, who started a short- “The Turk” is a multifaceted concept that perspective to the image of the Turk by lived early Renaissance Orientalism, was emerged in the late Middle Ages in shedding light on its representations in commissioned by Mehmed II, whose pri- Europe, and has gained new faces over early modern European board games and vate patronage was “eclectic with a strong the course of time until today. Being pri- playing cards; thus, contributing to a nou- interest in both historical and contempo- marily a Muslim, the Turk usually con- velle scholarly interest on the image of rary Western culture” (Raby 7).1 The forma- noted the antichrist, infidel, and the ulti- the Turk. It argues that, belonging to a tion of the Holy League of 1571 against the mate enemy.
    [Show full text]
  • Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
    Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern
    [Show full text]
  • Downloaded from Brill.Com09/25/2021 04:09:39AM Via Free Access 96 Yagou
    Please provide footnote text CHAPTER 4 A Dialogue of Sources: Greek Bourgeois Women and Material Culture in the Long 18th Century Artemis Yagou The Context In the Ottoman-dominated Europe of the Early Modern period (17th to 19th centuries), certain non-Muslim populations, especially the Christian elites, defined their social status and identity at the intersection of East and West. The westernization of southeastern Europe proceeded not just through the spread of Enlightenment ideas and the influence of the French Revolution, but also through changes in visual culture brought about by western influence on notions of luxury and fashion. This approach allows a closer appreciation of the interactions between traditional culture, political thought, and social change in the context of the modernization or “Europeanization” of this part of Europe.1 The role of the “conquering Balkan Orthodox merchant” in these processes has been duly emphasized.2 The Balkan Orthodox merchant represented the main vehicle of interaction and interpenetration between the Ottoman realm and the West, bringing the Balkans closer to Europe than ever before.3 The gradual expansion of Greek merchants beyond local trade and their penetra- tion into export markets is the most characteristic event of the 18th century in Ottoman-dominated Greece.4 This was triggered by political developments, more specifically the treaty of Küçük Kaynarca in 1774, the opening of the Black 1 LuxFaSS Research Project, http://luxfass.nec.ro, [accessed 30 May 2017]. 2 Troian Stoianovich. “The Conquering Balkan Orthodox Merchant,” The Journal of Economic History 20 (1960): 234–313. 3 Fatma Müge Göçek, East Encounters West: France and the Ottoman Empire in the Eighteenth Century (New York, 1987); Vladislav Lilić, “The Conquering Balkan Orthodox Merchant, by Traian Stoianovich.
    [Show full text]
  • The Story of the Borgias (1913)
    The Story of The Borgias John Fyvie L1BRARV OF UN ,VERSITV CALIFORNIA AN DIEGO THE STORY OF THE BORGIAS <Jt^- i//sn6Ut*4Ccn4<s flom fte&co-^-u, THE STORY OF THE BOEGIAS AUTHOR OF "TRAGEDY QUEENS OF THE GEORGIAN ERA" ETC NEW YORK G. P. PUTNAM'S SONS 1913 PRINTED AT THE BALLANTYNE PRESS TAVI STOCK STREET CoVENT GARDEN LONDON THE story of the Borgia family has always been of interest one strangely fascinating ; but a lurid legend grew up about their lives, which culminated in the creation of the fantastic monstrosities of Victor Hugo's play and Donizetti's opera. For three centuries their name was a byword for the vilest but in our there has been infamy ; own day an extraordinary swing of the pendulum, which is hard to account for. Quite a number of para- doxical writers have proclaimed to an astonished and mystified world that Pope Alexander VI was both a wise prince and a gentle priest whose motives and actions have been maliciously mis- noble- represented ; that Cesare Borgia was a minded and enlightened statesman, who, three centuries in advance of his time, endeavoured to form a united Italy by the only means then in Lucrezia anybody's power ; and that Borgia was a paragon of all the virtues. " " It seems to have been impossible to whitewash the Borgia without a good deal of juggling with the evidence, as well as a determined attack on the veracity and trustworthiness of the contemporary b v PREFACE historians and chroniclers to whom we are indebted for our knowledge of the time.
    [Show full text]
  • The Ottoman Empire and European International Society: a Theoretical – Historical Analysis
    THE OTTOMAN EMPIRE AND EUROPEAN INTERNATIONAL SOCIETY: A THEORETICAL – HISTORICAL ANALYSIS A Ph.D. Dissertation by BEHİCE ÖZLEM GÖKAKIN Department of International Relations Bilkent University Ankara January 2010 To the Memory of Late Professor Stanford Jay Shaw (1930-2006) THE OTTOMAN EMPIRE AND EUROPEAN INTERNATIONAL SOCIETY: A THEORETICAL – HISTORICAL ANALYSIS The Institute of Economics And Social Sciences of Bilkent University By BEHİCE ÖZLEM GÖKAKIN In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in THE DEPARTMENT OF INTERNATIONAL RELATIONS BİLKENT UNIVERSITY ANKARA January 2010 I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in International Relations. Professor Ali L. Karaosmanoğlu Dissertation Supervisor I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in International Relations. Professor Meliha Altunışık Examining Committee Member I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in International Relations. Associate Professor Ersel Aydınlı Examining Committee Member I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in International Relations. Assistant Professor Nur Bilge Criss Examining Committee Member I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in International Relations.
    [Show full text]
  • Ottoman Historiography and the Representation of Seventeenth-Century French Travelogues
    Tarih Dergisi Turkish Journal of History Tarih Dergisi - Turkish Journal of History, 73 (2021/1): 53-76 DOI: 10.26650/iutd.756501 Research Article / Araştırma Makalesi Reorienting Orientalism: Ottoman Historiography and the Representation of Seventeenth-Century French Travelogues Oryantalizme Yeniden Yön Vermek: Osmanlı Tarihyazımı ve On Yedinci Yüzyıl Fransız Seyahatnamelerinin Tasvirleri Andrea Duffy* ABSTRACT Contemporary discourse on orientalism has stigmatized early modern European travelogues, leading many scholars to reject them as viable sources of Ottoman history. Yet on closer examination, the orientalist biases associated with these works come primarily from nineteenth- and twentieth-century scholars, who misinterpreted and manipulated them, *PhD, Colorado State University, Fort Collins, CO. rather than from the sources themselves. This study investigates how and ORCID: A.D. 0000-0002-0408-493X why subsequent scholarship misrepresented seventeenth-century French travelogues on the Ottoman Empire. It argues that these accounts constitute Corresponding author/Sorumlu yazar: a valuable and underutilized resource for historians. Andrea Duffy, Keywords: Travel, Travel literature, Europe, Historiography Colorado State University, Fort Collins, CO. E-mail/E-posta: [email protected] ÖZ Submitted/Başvuru: 22.06.2020 Oryantalizme dair çağdaş söylem erken modern Avrupalı seyyahları lekelemiş Revision Requested/Revizyon Talebi: ve bu yüzden birçok bilim insanı Osmanlı tarihinin tutarlı kaynakları olarak 11.12.2020 kendilerini göz ardı etmiştir. Bununla birlikte, daha yakından incelendiğinde, Last Revision Received/Son Revizyon: 29.12.2020 söz konusu çalışmalara yönelik yanlı tutumun, eserlerin kendisinden Accepted/Kabul: 02.01.2021 ziyade bunları yanlış yorumlamış ve manipüle etmiş 19 ve 20. yüzyıl bilim insanlarından kaynaklandığı görülür. Bu çalışma sonraki bilimsel Citation/Atıf: çalışmaların Osmanlı İmparatorluğu üzerine kaleme alınmış 17.
    [Show full text]
  • Turquerie in Nineteenth-Century America
    TURQUERIE IN NINETEENTH-CENTURY AMERICA. Bahar Suzan Yolac A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in Art History in the Department of Art. Chapel Hill 2012 Approved by: Dr. Mary Sheriff Dr. Glaire Anderson Dr. Paroma Chatterjee © 2012 Bahar S. Yolac ALL RIGHTS RESERVED ii ABSTRACT BAHAR S YOLAC: Turquerie in Nineteenth-Century America (Under the direction of Dr.Mary Sheriff, Dr. Glaire Anderson, Dr. Paroma Chatterjee) The thesis explores the phenomenon of turquerie in nineteenth-century America, that is the fascination with and appropriation of elements of Turkish culture, particularly in interior designs and baths. The paper distinguishes turquerie from Orientalism, considering that the appropriation of Turkish forms accompanied neither imperial designs nor encyclopedic collections of knowledge; nonetheless, some of the Oriental stereotypes perpetuated in American turquerie. Turkish interior decorations and baths both in public and private domains in America reveal that the adoption of turquerie cannot be associated solely with the symbolic meaning of pleasure and voluptuous delights, since the concept of turquerie was multilayered. The adoption of some Ottoman forms, tastes and manners should not be confined to the cliched rhetorics, but viewed as ‘the Orientalization of the Occident,’ which was as valid as ‘the Occidentalization of the Orient’ albeit differently at various historical temporal and spatial confluences iii ACKNOWLEDGEMENTS Exploring Turquerie in the nineteenth-century America was a long odyssey both challenging and rewarding for me. This research would not have been possible without the help and support of the following individuals.
    [Show full text]
  • Ottoman Baroque
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Introduction It is fair and accurate to say that this beautiful building and gladdening house of worship— all of solid marble and so charming— has no like or counterpart not only in the capital [Istanbul], but indeed in [all] the lands of Islam. —­Ahmed efendİ, construction accountant of the nuruosmanİye mosque The mosque that Sultan Mahamout had built is, without doubt, the most beautiful that one can see in the Empire, after one has seen St. Sophia. — Jean-­Claude flachat, french merchant and resident of istanbul ritten of the mid- eighteenth- century Nuruosmaniye Mosque by authors contemporary with its construction, these statements may surprise the Wmodern observer (fig. 1). So conditioned are we to locate the heyday of Ottoman architecture in the sixteenth century— and above all in the works of Sinan (d. 1588)— that it is difficult to credit that a later building could have excited such praise. If the first statement might be dismissed as mere hyperbole on the part of an Ottoman official involved in the mosque’s construction, the second— penned by a Frenchman with no connection to the project— cannot be so easily disregarded. Indeed, the widespread acclaim that greeted the Nuruosmaniye bespeaks a mo- mentous shift in the history of Ottoman architecture, one embedded in, and itself constitutive of, far- reaching sociopolitical developments. The modern focus on the period before 1600— what has come to be known as the Ottoman classical age— has obscured the decisive role of the eighteenth century in (re)shaping the Ottoman Em- Fig.
    [Show full text]
  • Breaking with Convention: Mme De Pompadour's Refashioning of The
    Breaking with Convention: Mme de Pompadour’s Refashioning of the ‘Self’ Through the Bellevue Turqueries Mandy Paige-Lovingood A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art History. Chapel Hill 2017 Approved by: Melissa L. Hyde Cary Levine John Bowles ©2017 Mandy Paige-Lovingood ALL RIGHTS RESERVED ii ABSTRACT MANDY PAIGE-LOVINGOOD: Breaking with Convention: Mme de Pompadour’s Refashioning of the ‘Self’ Through the Bellevue Turqueries (Under the direction of Dr. Melissa Hyde) In 1750 the sexual relationship between Mme Pompadour and Louis XV ended, resulting in the maîtresse-en-titre’s move out of Versailles and into the Château de Bellevue. Designed by Pompadour and with the financial support of the king, the château offered her a place away from court etiquette and criticism, a private home for her and Louis XV to relax. Within Bellevue, her bedroom (la chambre a la turq) was decorated with Turkish furnishings, textiles and Carle Van Loo’s three-portrait harem series. Specifically, my thesis will explore Pompadour’s chambre a la turque and Van Loo’s A Sultana Taking Coffee, the only self-portrait of Mme de Pompadour in the series, to exhibit her adoption and depiction of the French fashion trend of turquerie. Here, I suggest Pompadour’s adoption of harem masquerade was a political campaign aimed at reclaiming and magnifying her social and political dislocation from Louis XV’s court, as well as an alternative appraoch to the French definition of ‘woman,’ whereby she represented herself as an elite and desired ‘other’: the Ottoman woman.
    [Show full text]
  • Homer, Troy and the Turks
    4 HERITAGE AND MEMORY STUDIES Uslu Homer, Troy and the Turks the and Troy Homer, Günay Uslu Homer, Troy and the Turks Heritage and Identity in the Late Ottoman Empire, 1870-1915 Homer, Troy and the Turks Heritage and Memory Studies This ground-breaking series examines the dynamics of heritage and memory from a transnational, interdisciplinary and integrated approach. Monographs or edited volumes critically interrogate the politics of heritage and dynamics of memory, as well as the theoretical implications of landscapes and mass violence, nationalism and ethnicity, heritage preservation and conservation, archaeology and (dark) tourism, diaspora and postcolonial memory, the power of aesthetics and the art of absence and forgetting, mourning and performative re-enactments in the present. Series Editors Rob van der Laarse and Ihab Saloul, University of Amsterdam, The Netherlands Editorial Board Patrizia Violi, University of Bologna, Italy Britt Baillie, Cambridge University, United Kingdom Michael Rothberg, University of Illinois, USA Marianne Hirsch, Columbia University, USA Frank van Vree, University of Amsterdam, The Netherlands Homer, Troy and the Turks Heritage and Identity in the Late Ottoman Empire, 1870-1915 Günay Uslu Amsterdam University Press This work is part of the Mosaic research programme financed by the Netherlands Organisa- tion for Scientific Research (NWO). Cover illustration: Frontispiece, Na’im Fraşeri, Ilyada: Eser-i Homer (Istanbul, 1303/1885-1886) Source: Kelder, Uslu and Șerifoğlu, Troy: City, Homer and Turkey Cover design: Coördesign, Leiden Typesetting: Crius Group, Hulshout Editor: Sam Herman Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 269 7 e-isbn 978 90 4853 273 5 (pdf) doi 10.5117/9789462982697 nur 685 © Günay Uslu / Amsterdam University Press B.V., Amsterdam 2017 All rights reserved.
    [Show full text]
  • Pre-Orientalism in Costume and Textiles — ISSN 1229-3350(Print) ISSN 2288-1867(Online) — J
    Journal of Fashion Business Vol.22, No.6 Pre-Orientalism in Costume and Textiles — ISSN 1229-3350(Print) ISSN 2288-1867(Online) — J. fash. bus. Vol. 22, No. 6:39-52, December. 2018 Keum Hee Lee† https://doi.org/ 10.12940/jfb.2018.22.6.39 Dept. of Fashion Design & Marketing, Seoul Women’s University, Korea Corresponding author — Keum Hee Lee Tel : +82-2-970-5627 Fax : +82-2-970-5979 E-mail: [email protected] Keywords Abstract Pre-Orientalism, Orientalism, The objective of this study was to enhance understanding and appreciation of oriental fashion, Pre-Orientalism in costumes and textiles by revealing examples of Oriental cultural-exchange, influences in Europe from the 16th century to the mid-18th century through in-depth study. The research method used were the presentation and analysis of previous literature research and visual data. The result were as follows; Pre-Orientalism had been influenced by Morocco, Thailand, and Persia as well as Turkey, India, and China. In this study, Pre-Orientalism refers to oriental influence and oriental taste in Western Europe through cultural exchanges from the 16th century to the mid-18th century. The oriental costume was the most popular subspecies of fancy, luxury dress and was a way to show off wealth and intelligence. Textiles were used for decoration and luxury. The Embassy and the court in Versailles and Vienna led to a frenzy of oriental fashion. It appeared that European in the royal family and aristocracy of Europe had been accommodated without an accurate understanding of the Orient. Although in this study, the characteristics, factors, and impacts of Pre-Orientalism have not — been clarified, further study can be done.
    [Show full text]
  • Goya and the International Art Movements of His Time
    GOYA AND THE INTERNATIONAL ART MOVEMENTS OFffiSTIME A Thesis Presented to the Faculty of the College of Arts and Sciences Morehead State University In Partial FuJfiJJrnent of the Requirements for the Degree Master of Arts In Art by Beverly L. McNutt April 22, 1991 A\r -\{,I 1--h e.'5 es ,-1 oq, :z.. 't ~ '1 ~'-\­ N\c.'(¥1- Accepted by the faculty of the College of Arts and Sciences, Morehead State University, in partial fn]fi]Jment of the requirements for the Master of Arts degree. Director of Thesis Master's Committee: 3 GOYA AND THE INTERNATIONAL ART MOVEMENTS OFIDSTIME Beverly L. McNutt, M.A. Morehead State University, 1991 Director of Thesis: Ryan A. Howard Francisco de Paula Jose Goya y Lucientes (1746-1828) was one of the greatest artists ever produced by Spain. Living a long and productive life, Goya was able to participate in and contribute to many contemporary and future international art movements, while remaining a traditional Spanish artist. If this seems to be a contradictory statement, all one has to do is examine his life and work to discover a man capable of astonishing transformations. He was a chameleon, changing his colors against the political and artistic landscape of his world. However, he never did this in an obsequious way; he was just not content with the status quo and was always open to new ideas. His mature art is always original and daring, yet could contain aspects of the prevalent style. 4 As with any brilliant, passionate artist, it is sometimes difficult to separate myth from reality about his life in the 1 700s and early 1800s.
    [Show full text]